THE MUSICAL INTENTION OF THE CLIMACTIC SCENE IN THE TV FILM "THE TRAP" (composer Volodymyr Gronsky, director Oleg Bijma)

Abstract

As the object of study of TV film «The Trap» there is taken and analyzed its culmination scene (studio «Ukrtelefilm» 1993, director – Oleg Bijma, composer – Volodymir Gronsky). It is marked that the culmination scene is there representative relatively to the usage of music in 5-serial film and the most important principles of the creative manner of the composer V. Gronsky are enclosed in it. It enable to show the main part and functions of music in the film. It was noted that an interesting solution of time-space organization of music became the result of filling by it the culmination scene of the film. In the short moment of going the scene there are simultaneously gathered several time levels: the childhood of Regina and her youth filled with hopes which are ruined by cruel reality of modern life. Framing by music space is being multiplicated and is left united by consciousness of the main character. A very interesting means stressing the irreversibleness of fate there is a short appearance in the frame a character of opera singer who sings Leonora aria from «The Power of Fate» by G. Werdi. Referring to the opera in the culmination scene creates additional semantic capacity of music. Besides music is causal to emotionally sensible space in time of film perception, providing the conditions for sympathy and coundergoing. The scene of Stalsky murdering as a culmination one is interesting due to fact that in a short interval of time it displays polyfunctionality of music in the film and its efficiency. It’s music itself that emphasizes perception of this scene, stresses its time multilevel and retrospectively returns into the past. Music here performs the function of reminiscence, evokes feeling of the presence of the past today, adjusts intermediate link with the tune of «power of fate» and suffering from G. Werdi’s opera and finally it shows the determination of the main character to commit a desparate murder of her husband. In this scene music completely undertakes telling and depicting role. It is noticeable that the main point of the culmination scene is provided by psychological features for penetrating into the gist of the drama.